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Few events gather as much media attention as the final championship game of the UEFA Champions League. According to UEFA, last year’s final match garnered 360 million viewers in 150 countries, making it one of the most viewed sporting event in the world. UEFA’s Champions League is arguably one of the world’s most prestigious soccer competitions, and they invest in creating a specific image for each year’s final. Usually, they commission a local artist to create the corporate image of the final: from the typography to the posters, banners, and social media designs. For the 2019 game that takes place in Madrid on June 1, UEFA commissioned Spanish street artist Ruben Sánchez, aka Zoonchez, to create the corporate image. Sánchez, a self-taught street artist that has created art all around the world, defines his style as “a visual balance, chain reactions and connectivity always surrounded by a Mediterranean vibe, in a journey with no destination.” In 2018, he was commissioned by the UEFA Champions League to create the visual identity for the championship game to be held in Madrid in June 2019. This paper studies how a multinational corporation such as UEFA decides to borrow the language, freshness, and style of street art. Therefore, we see the frontiers between art and commerce blurred by cooperation between two seemingly opposite worlds: the vibrant street art that populates our cities and the well-planned, calculated corporate image of an event that will draw millions of spectators in front of a television. Through the methodology of an in-depth interview with the artist, a content analysis of his work, and an examination of the creative process the paper will present the case study exploring the connections between the artist’s previous work and the 2019 UEFA Champions League Final corporate image.

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Ismael Lopez Medel 1666
Scientific production

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